Nasher Museum of Art at Duke University

"Across County Lines: Contemporary Photography from the Piedmont" will be featured in the Nasher Museum of Art from Oct. 4 to Feb 10. As a culmination of 39 artists' work and dedication to the people of North Carolina's Piedmont and expressing 45 years of culture, this exhibition aims to present the remarkable intimacies of everyday life to viewers. The exhibition opening will take place Oct. 6 with refreshments and live music.

"The subject matter includes everything from portraiture to landscape, still life, politics, gender and identity issues, activism, immigration, Americana, abstraction and both local and foreign current events." wrote Molly Boarati, assistant curator for the Nasher Museum of Art, in an email. "Hopefully there is something in the exhibition that speaks to all students as individuals."

For Boarati, the excitement from working with such a diverse group of artists stems from their influence on each other.

To experienced older artists, working with the younger artists they inspired speaks to the support this community provides. The culmination of art forms and perspectives offers a unique view of the range in perspective.

"I think the range [of years] contributes more examples of analogue photographs, in addition to the more ubiquitous digital photographs today. The older photographs give a glimpse of the past, before undergraduate viewers were born, and provide a sense of what photography from the region looked like a few decades ago," Boarati wrote in an email.

Older photographs give a glimpse into the rich history and tradition of the region and contribute valuable insight into the growth and lack thereof. Photography provides the perspective to try and see beyond difference and into the complex reality of the community.

Whether good or bad, we all have an affinity for the experiences, the relationships, and the discoveries-that unfold on the open road. The Romance of the Road explores what any freeway offers someone who is tired, weary, or fallen off the track- a chance to dream about a better place, or better life that may be at the other end. Dennis Kiel, curator

"Beginning with short trips through North Carolina, I tried to go out with open eyes and an open mind-knowing full well that my impressions of my state were like that of having read a good book, leaving much to the imagination. I wanted to fill in the blanks, and make that book into my movie. Using my camera as a passport into the unknown, I encountered scenes that both awed and shocked me. Throughout it all I tried to bring a wide-eyed sense of wonder, optimistic but critical."- Bryce Lankard

At the New Orleans Academy of Fine Arts

and the

14th International Dixieland Festival of Tarragona in Catalonia, Spain.

“[Marshall’s] thought was that you could find more things available (with an alliance) than if you were out on your own,” says Murphy. “We were all trying to redevelop a sense of community.” Though still in its infancy, the result is the New Orleans Photo Alliance.

The group already has organized Vision/Revision at the CAC, Rituals and Revelry: Depictions of Carnival at Brad Edelman Gallery and Moments In Time: New Orleans at the Crossroads now on exhibit at New Orleans Academy of Fine Arts. The Alliance plans to make Moments In Time a traveling exhibit and take 74 photographs by 15 New Orleans photographers to the 14th International Dixieland Festival of Tarragona in Catalonia, Spain, from March 28-May 27. The group hopes to book the show at other venues in Europe during the summer and throughout the United States after that.

Lankard hatched the idea of the traveling show while he was still in New York, after a friend in Spain contacted him about exhibiting some of his photographs during the Dixieland Festival. Lankard brought the project to the Alliance, which put out a call for artists and selected works from 15 photographers. The show illustrates the breadth of New Orleans culture, both pre- and post-Katrina. The selected photographs explore and reveal the city’s cultural identity beyond its tourist facade. Ultimately, the show can prevent New Orleans from being defined -- or re-defined -- by the catastrophic events that Katrina brought.

“Since Katrina, the dominant photographs have been of the destruction from the storm,” Murphy says, “and they’re not primarily made by people who live here. The concept behind the show was to show people how photographers who live and work in New Orleans see the city.”

The images date back to the ‘70s, with Michael P. Smith’s photos of musicians and second-line funerals and Mark J. Sindler’s documentation of the city’s vibrant Vietnamese communities. It also brings viewers up to date with photos like Murphy’s and Frank Relle’s views of the city post-Katrina. In between, there are dozens of artistic glimpses from photographers including Shannon Brinkman, who recorded the ‘90s bohemian subculture of the French Quarter and Faubourg Marigny; Jonathan Traviesa’s environmental portraits; Judy Cooper, who focuses on people who dress up to celebrate, from women decked out in their Sunday best to social aid and pleasure clubs; the decadence-elegance pictures of Richard Sexton; Andy Levin’s images of Charity Hospital; Steven Forster, who has covered the drag community for a dozen years; Victoria Ryan’s artistic views of Mardi Gras; contemporary images by L.J. Goldstein; and Terrance Sanders’ combination of poetry and artistic portraits.

“We wanted to have something that showed a contemporary history of New Orleans, before and after Katrina, and how the different photographers approached the subject matter,” Murphy says.

The show is smaller than Lankard initially wanted, but he hopes to expand it as funding becomes available and venues open up to the artists, both in Europe and the United States.

“I had originally envisioned it as being a 200-image exhibition,” he says. “My personal vision was to give a broad and accurate portrait of what New Orleans is, including its blemishes, including ... all the things that make us distinctive. While we wanted Katrina to be part of the exhibit, we wanted it to be an almost 30-to-40-year chronology of what makes New Orleans unique ... stuff the world doesn’t always see.

Ministry of Culture, Paris, France 2007

This exposure was produced by the ministry for the culture and the communication within the framework of the operation of support interdependent for the rebuilding of the cultural life to the Orleans News engaged following the devastations of the Katrina hurricane. It was conceived by Gilles-Antoine Langlois, historian and town planner, taking part in the program “Currents the USA 2007 “carried out by the ministry for the culture and the communication with French American Foundation of New York, in collaboration with John Lawrence, American specialist in photography.

56 works of three French photographers are presented: Henri Cartier-Bresson, Alain Desvergnes and Gilles Mora, and nine photographers American: Bryce Lankard, Owen Murphy, Chuck Patch, Christopher Porché West, Victoria Ryan, Louis Sahuc, Jennifer Shaw, Sindler Mark and Donn Young.
City rested by the French, metropolis cultural of the south deeply marked by the creole culture (French, African and Spanish), the Orleans News is the city of the United States where the French heritage, and the Franco-American friendship, are most visible and most sensitive.

This exposure aims at making a portrait of the Orleans News, through twelve glances of artists, nine American and three French. It shows the faces of curiously ignored an Orleans News. Not only features of a city wounded in 2005 by the passage of the Katrina hurricane, but those of an old and complex, proud city of its cultures.

REGARDS SUR LA NOUVELLE ORLEANS

One of the ironies of photography is that presenting a moment arrested in time, stopping time, results (at least theoretically) in making that moment continue indefinitely. The rich heritage of photographing what has been called “America’s most interesting city” informs the inheritors of that tradition who work in the Crescent City today. And so the works by Bryce Lankard (and others) are paradoxically brand new and over one hundred and fifty years old.

John H. Lawrence, The Historic New Orleans Collection, curator

-REGARDS SUR LA NOUVELLE ORLEANS Ministry of Culture, Paris, France, 2007John H. Lawrence, The Historic New Orleans Collection, curator

Instantaneous: the Polaroid Legacy appeared at Anchorlight in Raleigh, NC during the 2017 Click Photography Festival. It featured the work of Bill McAllister, Bryce Lankard, Harlan Campbell, Lisa McCarty, Polly Chandler, Richard McCabe, Tanner Messer, and Zoe Wiseman.

A video of the installation and opening can be seen here.

TIME, PLACE AND ETERNITY: Flannery O'Conner and the Craft of Photography at Slow Exposures.
LENSCRATCH 10/2014 by Aline Smithson.

One of the highlights of the SlowExposures Festival was the Posse’s exhibition, Time, Place, and Eternity: Flannery O’Connor and the Craft of Photography. The exhibition was constructed in Christine Curry’s horse barn as part of the Friday night soiree held at her home to celebrate the ShowExposures Festival. We arrived just as the sun was setting and in the distance was a stately home surrounded by big trees filled with strings of light. After picking up a cocktail, we made our way to the horse barn where the remarkable collective, The Posse, consisting of some of the most innovative and creative Southern photographers: Anne Berry, Ann George, Bryce Lankard, Lori Vrba, and S. Gayle Stevens, had crafted one of the most interesting and innovative exhibitions I’ve seen in a long while. With hay on the floor, we made our way through the horse stalls, reading Flannery O’Connor quotes and enjoying the unique approach to crafting, hanging, and presenting photographs. Dennis Kiel was an honorary Posse member, supporting and assisting with the exhibition. The group arrived in their own RV, setting up camp next to the barn. Needless to say, they had an amazing weekend!

The Posse: Lori Vrba, Bryce Lankard, Ann George, Anne Berry, S. Gayle Stevens.

Contemporary Arts Center, New Orleans, LA 1995

Curated by Lew Thomas.

Artists included Cindy Sherman, Andres Serrano, George Dureau.

from the Home Birth Series.

In Bryce Lankard’s series documenting “home birth” and midwifery. A familiar French Quarter figure is seen mostly naked and in labor, and then in the messy if miraculous process of giving birth to a big, healthy baby. this series could almost be a page from our frontier past, but for the tell-tale touches that orient it in our contemporary local bohemia — a stirring, even startling document.

D. Eric Bookhardt

The Graphic and the Photographic

Gambit Magazine

Lagniappe: the Times-Picayune Sunday Magazine.

"Delugians" exhibit at Salomon Arts showcases the work of lens-based artists whose work was influenced by the aftermath of Hurricane Katrina.

83 Leonard Street, 4th floor, New York, NY- September 16-October 16, 2010.

Graphic images of a landscape of destruction…New Orleanians have seen enough of them. As the 5th anniversary of the Hurricanes and flooding that devastated New Orleans and the Gulf coast approaches, many of these images will, no doubt, resurface. The collection of art in "Delugians" focuses on a different aspect of the aftermath, how the emotional, social, and psychological effects of this catastrophe manifest themselves in the work of 4 lens-based artists. Curator, Bryce Lankard, has worked closely with many artists, particularly photographers, in the New Orleans post-Katrina environment, most notably through the foundation of the New Orleans Photo Alliance, a non-profit photographic arts organization that began shortly after the natural and man-made disaster.

Artists: Jennifer Shaw, David Halliday, Bryce Lankard, Kyle Bravo.

Salomon Arts hosted the benefit exhibition "Land of Dreams" by Bryce Lankard in 2006. Proceeds from the show aided in the creation of the New Orleans Photo Alliance, a non-profit photographic arts organization founded after Hurricane Katrina.

Bryce Lankard, curator of "Delugians", is a co-founder of the New Orleans Photo Alliance, which hosts the PhotoNOLA festival. In 2008 NOPA and the festival were named one of the "46 Reasons to Love Photography Now" by PDN magazine.